Listen for the ear-worm jingle of the Ice Cream truck as it pulls up to the curb with a sickly sweet new Summer scoop…The darkly inventive, critically acclaimed comic book series by creators W. Maxwell Prince, Martín Morazzo, Chris O’Halloran, and Good Old Neon will return with a yummy new tale of terror, Ice Cream Man #44, in July and the Ice Cream Man, Vol. 11 trade paperback collected edition in September from Image Comics.

This tantalizing tale will center around a job performance review gone wrong. Additional upcoming issues of the anthology will feature a twisted Hitchcockian Rear Window homage, a completely creepy tale of cryogenic anti-aging chambers, and a series of vintage medical ads that downplay some pretty shocking side effects.

“Golly. I can’t believe we’ve been putting this book out for 7.5 years,” said Prince. “In comic time, I think that makes us officially geriatric. And so, speaking as a veritable sequential grandpa, I’ll tell you this: I still don’t quite understand how and why we have made it this far. I mean, I am so proud of the corpus of tales we’ve assembled; Ice Cream Man is the defining artistic project of my life. (And I think I can probably say the same for my co-creators).”

Last year’s Ice Cream Man #39: “Decompression in a Wreck, Part One,” has been nominated for Best Single Issue/One-Shot for the 2025 Eisner Awards. The issue is the first in a two-parter story that shows how time slows down and life flashes by during a deadly heart-and-bone-breaking car accident, resulting in the death of a family. The comic details how decompression works in comics storytelling, and how a mere five seconds of a tragedy can be stretched into a 28-page deep dive. “Each moment sacred, each millisecond housing a loving memory, or a painful reminder, or an enticing glimpse into a future that will never, ever happen…” writes Prince in the comic.

The second part of the story, Ice Cream Man #40, shows the accident from the perspective of the truck drivers who collided with the family. Both issues have been collected into Ice Cream Man: Decompression In A Wreck Deluxe Special Edition #1 and Ice Cream Man TP, Vol. 10, available now.

This year also marked the critically acclaimed release of the all-star edition, Ice Cream Man #43, which featured one-page contributions not just from the stellar originators of this disturbing and delightful form experiment, but also short stories written by the likes of Grant Morrison, Patton Oswalt, Kelly Sue DeConnick, Matt Fraction, Jeff Lemire, Geoff Johns, Zoe Thorogood (who also illustrated her own story), Deniz Camp, and Frank Barbiere, with art by Morazzo and O’Halloran. Ice Cream Man has rippled through the comic book scene since its debut in 2018 and was scooped up for the big screen recently by veteran writers Alfred Gough and Miles Millar (Wednesday, Beetlejuice Beetlejuice).

In the Ice Cream Man anthology series, mysterious horror host, Rick, delivers morsels of delicious terror in every flavor. The genre-defying comic book series features short tales of sorrow, wonder, and redemption, with each installment featuring its own cast of strange characters, dealing with their own special sundae of suffering. And on the periphery of all of them, like the twinkly music of his colorful truck, is the Ice Cream Man—a weaver of stories, a purveyor of sweet treats. Friend. Foe. God. Demon. The man who, with a snap of his fingers—lickety split!—can change the course of your life forever.

Prince added: “It’s an absolute privilege to spin yarns about Rick the Ice Cream Man, his jingly-jangly truck, and, most importantly, everyday people fighting their way through the morass of adult life: grief, regret, addiction, divorce, overdue bills, sick family, sick self, the fall of democracy…it’s never-ending, that list. But I can still see that sliver of light breaking through…We somehow managed to make a ‘horror’ book that is, in fact, about human suffering, with slivers of light and hope streaked through the center of everything. Plus, we’ve gotten to perform some very wild comic-specific formal experiments: a silent, three-reality, and three-color issue; a story that's an actual palindrome; a crossword puzzle; an instruction manual; a dark recreation of beloved children’s books; an advent calendar; a telethon; an issue that is one continuous image when read in landscape orientation.”

“Ice Cream Man is the fulfilling, creative, challenging, cool, and ultimately fun series one can only dream of being a part of when having a comics career,” said O’Halloran. “Having a front row seat to the inventiveness of my collaborators' hard work for almost 50 issues manages to keep me motivated and inspired with this art form, and just feel very lucky to have my name on this book and be its colorist.”

“Not sure what I can add to what Will and Chris already said, ’cause I feel exactly the same way they do, but I wanted to thank our readers, our fans!” said Morazzo. “It wouldn’t have been possible without you guys, and I’m sure I can speak for the rest of the team now, we’re forever grateful!”

“THANK YOU to everyone who has stuck with us for so long,” added Prince. “We’ve still got a lot of surprises in store for issues #44 and beyond, including the Ice Cream Man, Vol. 11 trade paperback! Eleven volumes to sadden your shelves, stack high as a doorstop, or if you’re in the mood, read entirely in one sitting. And this is to say nothing of our Ice Cream Man movie in development over at horror central, Sony Screen Gems, headed by Wednesday and Smallville creators Alfred Gough and Miles Millar, alongside our amazing producer Aaron Schmidt. Feel free to start your dreamcasting for Ice Cream Man RIGHT NOW.”

Ice Cream Man TP, Vol. 10, which collects issues #37-40 (ISBN: 9781534397286, Lunar Code 0524IM265)—including the “Decompression in a Wreck" issues—is available at comic book shops, as well as independent bookstores, Amazon, Barnes & Noble, Books-a-Million, Indigo, and Waterstones. Ice Cream Man TP, Vol. 11, which collects issues #40-44 (ISBN: 9781534331167)—including all-star issue #43—will be available at local comic book shops on September 17, as well as independent bookstores, Amazon, Barnes & Noble, Books-a-Million, Indigo, and Waterstones on September 30.

Ice Cream Man #44 will be available at comic book shops on Wednesday, July 23 (Final Order Cutoff deadline for retailers is June 30):

Cover A by Martín Morazzo, Chris O’Halloran – Lunar Code 1224IM303

Cover B by Declan Shalvey – Lunar Code 1224IM304

Ice Cream Man #45 will be available at comic book shops on Wednesday, September 10 (Final Order Cutoff deadline for retailers is August 18):

Cover A by Martín Morazzo, Chris O’Halloran – Lunar Code 0325IM323

Cover B by Alison Sampson – Lunar Code 0325IM324

Ice Cream Man #46 will be available at comic book shops on Wednesday, October 8 (Final Order Cutoff deadline for retailers is September 15):

Cover A by Martín Morazzo, Chris O’Halloran – Lunar Code 0525IM391

Cover B by Juni Ba (to be revealed) – Lunar Code 0525IM392

Ice Cream Man is also available across many digital platforms, including Amazon Kindle, Apple Books, and Google Play.

James Gunn’s Superman has proven to be more than just a reboot—it’s a box office revival for DC Studios. In its first 10 days, the film has soared past expectations, delivering impressive numbers both in the U.S. and abroad. It has earned $235 million domestically, holding strong in its second weekend, dropping only 54% to bring in $57.2 million, a better-than-expected hold for a superhero film. The film now ranks as the biggest domestic hit for DC since Aquaman in 2018. It has already surpassed the lifetime domestic total of Justice League ($230M) and Thunderbolts ($189M). Overseas, Superman brought in $171.8 million, bringing its global total to $406.8 million all while the film faced challenges in some international markets due to Superman’s strong American identity, but still managed solid numbers in Latin America and parts of Europe. Top international markets include: UK: $9.8M, Mexico: $8.8M, Brazil: $5.9M, Australia: $5.3M and France: $4.2M. With a reported $225 million production budget, the film is on track to recoup costs and potentially reach $600–700 million globally. It has already outgrossed Marvel’s Thunderbolts ($383M) and is closing in on Captain America: Brave New World ($415M). Studio insiders project a domestic finish between $350M and $400M, with international markets expected to contribute further as word-of-mouth spreads. The film’s success has reignited interest in Superman across platforms: Man of Steel viewership surged on HBO Max. Christopher Reeve’s Superman: The Movie and the documentary Super/Man: The Christopher Reeve Story saw massive streaming spikes. Even Peacemaker Season 1 got a boost, showing the ripple effect across DC content. In just 10 days, Superman has not only proven its box office muscle but also reestablished the character as a global icon. With strong legs and a clear runway before Fantastic Four arrives, the Man of Steel is flying high—and the future of DC looks brighter than ever. 

HBO Max’s The Penguin has officially cemented its place as one of the year’s most celebrated limited series, earning 24 Emmy nominations—the most in its category and second only to Severance across all shows. The gritty Batman spinoff, starring Colin Farrell as Gotham’s infamous crime lord Oz Cobb, has captivated critics and audiences alike with its noir aesthetic, powerhouse performances, and meticulous production design. In the acting categories, Colin Farrell received a nomination for Outstanding Lead Actor in a Limited or Anthology Series or Movie, adding to his Golden Globe and SAG wins for the role. Cristin Milioti, who plays Sofia Falcone, earned a nod for Outstanding Lead Actress. Deirdre O’Connell was recognized for her supporting role as Oz’s mother, Francis Cobb. Behind-the-scenes the show also scored with nominations across technical categories, including: Outstanding Writing for Lauren LeFranc’s episode “A Great or Little Thing”, Outstanding Directing for episodes helmed by Helen Shaver and Jennifer Getzinger, Outstanding Prosthetic Makeup, honoring the transformative work that turned Farrell into the scarred and bloated Penguin, Outstanding Music Composition, with Mick Giacchino’s haunting score earning its own spotlight.   The Penguin was recognized for: Production Design, Casting, Cinematography, Hairstyling Title Design, Sound Editing and Mixing, and Stunt Coordination and Performance. With 24 nominations, The Penguin now holds the second-highest Emmy nod count for a comic book series, trailing only HBO’s Watchmen (26 nominations in 2019). 

With all the coverage for Superman, James Gunn, co-head of DC Studios, seems to be everywhere being asked everything. In a recent set of interviews, he has offered fresh insights into the future of several iconic heroes in the evolving DC Universe. Gunn confirmed that a new Wonder Woman film is actively in development, with a script currently being written. He expressed strong enthusiasm for the project, calling it “a very distinct take” that will differ significantly from the Gal Gadot-led version in the previous DCEU continuity. The DCU’s Batman reboot, The Brave and the Bold, is also in the scripting phase. Gunn emphasized that production won’t begin until the screenplay meets his high standards, stating, “I’d rather wait a year than go too soon”. This film will introduce a new Batman and explore his relationship with Damian Wayne. However, Gunn is mindful of overlapping timelines with Matt Reeves’ The Batman Part II, which is set for October 2027, and has hinted that the two films won’t release in the same calendar year. Fans hoping to see The Flash and Aquaman in the near future may be disappointed. Gunn revealed that neither character is expected to appear in the DCU for at least the next two years, pushing their potential returns to 2028 or later. This strategic delay allows DC Studios to rethink their approach after mixed receptions to their last solo outings. 

Sony Pictures Animation has officially shifted the release date of Spider-Man: Beyond the Spider-Verse, the highly anticipated conclusion to its animated trilogy, from June 4 to June 25, 2027. While the delay is a modest three weeks, it marks yet another adjustment in the film’s long and winding journey to theaters. Studio insiders revealed that the new date was chosen to better align with summer break schedules—by June 25, all U.S. schools will be out, compared to only 65% on the original date. This strategic timing is expected to boost attendance among younger audiences and improve performance in international markets. Beyond the Spider-Verse picks up immediately after the cliffhanger ending of Across the Spider-Verse (2023), with Miles Morales on the run in an alternate universe. Directors Bob Persichetti and Justin K. Thompson return, while the screenplay is penned by franchise architects Phil Lord, Christopher Miller, and David Callaham. The trilogy began with Into the Spider-Verse (2018), which won the Oscar for Best Animated Feature and grossed $384 million globally. Its sequel, Across the Spider-Verse, earned a staggering $690 million and cemented the franchise’s reputation for bold storytelling and groundbreaking animation. 

In a twist worthy of a Hollywood script, Ryan Coogler’s breakout horror film Sinners—a 2025 box office juggernaut—owes part of its haunting aesthetic to a Marvel movie that never made it to set. The film’s eerie, period-perfect costumes were originally designed for Marvel Studios’ long-delayed Blade reboot, which remains in production limbo. According to Sinners producer Sev Ohanian, the film’s costume designer, Oscar-winner Ruth E. Carter (Black Panther), had been working on Blade when the project was shelved indefinitely. That version of Blade, starring Mahershala Ali, was once envisioned as a 1920s-set vampire thriller—eerily similar in tone and era to Sinners. When Sinners was greenlit on a tight schedule, Carter had a warehouse full of unused, period-appropriate costumes. Marvel, in a rare behind-the-scenes collaboration, allowed Coogler’s team to purchase the wardrobe “at price”. While the main cast including Michael B. Jordan, Hailee Steinfeld, and others wore custom-designed costumes tailored specifically for their characters, many of the extras in Sinners were dressed in the repurposed Blade costumes, giving the film a rich, textured authenticity without the usual prep time. First announced in 2019, Marvel’s Blade reboot has faced repeated delays due to creative changes, director exits, and industry strikes. The film was removed from Disney’s release calendar in 2024 and remains without a confirmed production date. Despite the setbacks, Mahershala Ali has expressed continued interest in the role, recently telling reporters, “Call Marvel. I’m ready”. 

Nearly 50 years after One Flew Over the Cuckoo’s Nest became a cinematic landmark, a new television spinoff is in the works—this time told through the eyes of the character who saw everything but said very little: Chief Bromden. Producer Paul Zaentz, nephew of the original film’s producer Saul Zaentz, revealed on the CK Café podcast that he has signed an agreement with the widow of author Ken Kesey to develop a TV series based on the 1962 novel. The first season will be told entirely from the perspective of Chief Bromden, the towering half-Native American patient who pretended to be deaf and mute in the original story. Zaentz explained that the series will begin within the psychiatric hospital, as in the original, but will then follow Chief’s journey after his dramatic escape—territory the original film never explored. While Milos Forman’s 1975 film adaptation won five Academy Awards, including Best Picture and Best Actor for Jack Nicholson, it famously diverged from Kesey’s novel by shifting the narrative focus from Chief Bromden to Randle McMurphy. Kesey was openly critical of this change. The upcoming series aims to restore the novel’s original point of view and delve deeper into the Chief’s inner world. Chief Bromden’s character—played by Will Sampson in the film—was a symbol of silent resistance and eventual emancipation. The new series promises to explore his backstory, his psychological trauma, and his life beyond the institution. It’s a chance to reframe the narrative around Indigenous identity, mental health, and the long shadow of institutionalization. 

Julian McMahon, the charismatic Australian actor known for his iconic roles in Nip/Tuck, Charmed, and the Fantastic Four films, has passed away at the age of 56 following a private battle with cancer. His wife, Kelly McMahon, confirmed that he died peacefully on July 2, 2025, in Clearwater, Florida. Born in Sydney on July 27, 1968, McMahon was the son of former Australian Prime Minister William McMahon. He began his career as a model before transitioning to acting in Australian soaps like The Power, The Passion and Home and Away. His move to Hollywood led to breakout roles in Profiler and Charmed, where he played the complex and seductive demon Cole Turner. But it was his portrayal of Dr. Christian Troy in FX’s Nip/Tuck that cemented his status as a television icon. The role earned him a Golden Globe nomination and showcased his ability to balance charm, darkness, and vulnerability. He later brought gravitas to the role of Victor Von Doom in the Fantastic Four films, becoming one of Marvel’s earliest cinematic villains. McMahon’s career spanned decades and genres. He starred in FBI: Most Wanted as Jess LaCroix, appeared in Hulu’s Runaways, and most recently played the Australian Prime Minister in Netflix’s The Residence—a poignant nod to his real-life heritage. McMahon is survived by his wife Kelly and his daughter Madison, whom he shared with ex-wife Brooke Burns. In her statement, Kelly described him as a man who “loved life… and whose deepest wish was to bring joy into as many lives as possible”. 

Jim Shooter was a towering figure in the comic book industry—both literally and professionally. He began his career at just 14 years old, writing for DC Comics, where he made a splash with stories for the Legion of Super-Heroes. His early creations included characters like Karate Kid, Ferro Lad, and Princess Projectra, as well as the villain group Fatal Five. Here’s a snapshot of his legacy: <!--[if !supportLists]-->·         <!--[endif]-->DC Comics: Started as a teenage writer, contributing to Adventure Comics and Action Comics. <!--[if !supportLists]-->·         <!--[endif]-->Marvel Comics: Rose to become Editor-in-Chief from 1978 to 1987. Under his leadership: <!--[if !supportLists]-->o    <!--[endif]-->Oversaw iconic runs like Uncanny X-Men by Claremont & Byrne, Daredevil by Frank Miller, and Thor by Walt Simonson. <!--[if !supportLists]-->o    <!--[endif]-->Introduced creator royalties and launched the Epic imprint for creator-owned work. <!--[if !supportLists]-->o    <!--[endif]-->Created the first major crossover event: Secret Wars. <!--[if !supportLists]-->·         <!--[endif]-->Valiant Comics: Co-founded the publisher in the early '90s, bringing characters like Solar: Man of the Atom and Harbinger to life. <!--[if !supportLists]-->·         <!--[endif]-->Also founded Defiant Comics and Broadway Comics, though both were short-lived. Shooter was known for his strict editorial style, which helped Marvel stay on schedule but also led to clashes with many creators. Despite the friction, his tenure is credited with revitalizing Marvel during a critical period. Jim Shooter passed away on June 30, 2025, at the age of 73. His influence on comics—both in storytelling and industry practices—remains profound. 

In the ever-watchful world of fandom sleuthing, even a simple Instagram follow can ignite a firestorm of speculation. That’s exactly what happened when filmmaker and DC Studios co-head James Gunn followed actress Adria Arjona on Instagram—a move that fans quickly interpreted as a hint she might be cast as the next Wonder Woman. But Gunn was quick to clarify: “I followed Adria on Instagram, but everybody came out, ‘He just followed her, that means she’s Wonder Woman!’” he said in a recent interview with Extra. “She’d be a great Wonder Woman, by the way. But she was in a movie that I made seven years ago. We’ve been friends and have known each other since that time. I followed her then, I didn’t just follow her.” The film Gunn referred to is The Belko Experiment (2016), which he produced and in which Arjona appeared. Their professional relationship and friendship date back to that project, making the social media follow less of a casting clue and more of a long-standing connection. Still, Gunn’s comment that Arjona “would be a great Wonder Woman” has only fueled fan enthusiasm. With a new Wonder Woman film currently in development and the DC Universe undergoing a major reboot, speculation remains high—even if Gunn insists fans shouldn’t read too much into his Instagram activity. 

In a move that blends personal branding with practical necessity, It’s Always Sunny in Philadelphia star and co-creator Rob McElhenney has officially filed to change his name to Rob Mac. The decision, confirmed by McElhenney himself, marks a significant shift for the actor, writer, and entrepreneur whose surname has long been a source of confusion—and comedy. McElhenney, whose last name has famously stumped fans and media alike (despite Ryan Reynolds’ musical pronunciation tutorial), cited global business expansion as the primary reason. As his company, More Better Industries, continues to invest internationally—including ventures in Colombia and Mexico—he found that “McElhenney” was often mispronounced or misunderstood. “As our business and our storytelling is expanding into other regions of the world and other languages in which my name is even harder to pronounce, I’m just going by Rob Mac,” he told Variety. Interestingly, the name “Mac” isn’t just a simplification—it’s also a nod to his iconic Always Sunny character, known simply as Mac. It’s a full-circle moment that blends his personal identity with his pop culture persona. The name change is already being reflected in FX press materials for both It’s Always Sunny and Welcome to Wrexham, the Emmy-winning docuseries chronicling McElhenney and Reynolds’ ownership of Wrexham AFC.